The delightful duo of Gill and Emma invited me to take part in a tribute to the excellent Jeff Goldblum. I’ve always been a fan of his and enjoy whenever he graces the screen. I decided to review the adventure blockbuster that is Jurassic Park.

A full on thrill ride with eye popping effects and Steven Spielberg at some of his best, Jurassic Park is an ageless spectacle with the power to shock, scare and entrance from start to finish.

Dr Alan Grant( Sam Neill), who specialises in Paleontology and Dr Ellie Sattler(Laura Dern), whose field is Paleobotany are romantically linked and currently working on another dig of dinosaur fossils .One day to their Montana dog comes eccentric billionaire John Hammond( Richard Attenborough) who has a proposition for them. He has created a theme park off the coast of Costa Rica which is inhabited by cloned dinosaurs, which his team of scientists managed to create after extensive DNA testing and sampling. Hammond is worried because there have been doubts about the safety of the park and he wants Alan and Ellie to view it and give their opinions. Naturally, they accept the offer and are joined by mathematician and chaos theory nut Ian Malcolm( Jeff Goldblum). Also visiting are Hammond’s grandchildren, Lex( Ariana Richards) and Tim( Joseph Mazzello), who are more than curious about the park. Upon arrival, Alan, Ellie, Ian and the kids are bowled over by the cloned dinosaurs that have been brought to life and in the flesh. And though some of the group have their doubts about how ethical it all is, Hammond’s enthusiasm remains undimmed. Yet all of this will change as danger lurks right around the corner. A disgruntled worker by the name of Dennis(Wayne Knight) has accepted a shady offer to smuggle out dinosaur embryos to a competitor. To do this, he sneakily shuts down the security of the park in order to disguise his theft and leave undetected . The shutdown causes all power to go out but more dangerously, the electric fences that guard the dinosaurs open, setting the scene for chaos as the many carnivorous creatures go on the hunt with humans as their prized dinner. Alan ends up sheltering the terrified kids, while Ellie, Ian, Hammond, plus game warden Robert Muldoon( Bob Peck) and chief engineer Ray Arnold( Samuel L. Jackson) , attempt to restart the power and avert more horror. It’s up to the survivors to make it through the park and to safety before they end up on the menu.

Jurassic Park finds Steven Spielberg at some of his most fun and skilled. He displays sense of wonder at seeing these prehistoric beasts and then cranks the tension up when all hell breaks loose. He knows how to entertain and keep you on the edge of your seat throughout this adventure with sequences of immense excitement and haunting terror existing right after the other. Simply put, it’s one of his best movies which is saying something considering the excellence in his filmography over the years. Memorable scenes abound like the first glimpse of the towering , the terrifying encounter with a Tyrannosaurus Rex and the nasty Velociraptors menacing Ellie in the maintenance shed as she switches the circuit breakers on and the children in the kitchen narrowly escaping being attacked. Many of these moments hold that balance between scary and exhilarating. I like the look at how playing God never ends up well, but it sure can be extremely entertaining to watch. There’s the greedy Dennis getting his comeuppance when attacked by an initially friendly dinosaur reveals itself to be bloodthirsty, Hammond’s growing realisation of what he has created and the chaos that ensues once the prehistoric creatures are let loose. One can’t speak about this movie without mentioning the influential special effects in it. They make the dinosaurs feel so real as if you could reach out and touch them. I mean, we all remember the first time we, like an awe-struck Ellie, witnessed the Brachiosaurus in all its glory, right? Or the first attack of the enormous Tyrannosaurus Rex on the visitors at nighttime? The blend of the then new CGI and animatronics is seamless in execution and so thoroughly convincing at bringing these ancient creatures to jaw-dropping. John Williams is on hand with one of his most suspenseful and alive scores; charting the wonder of the park then plunging us into the terror of fighting for survival against hungry dinosaurs.

Sam Neill has the laconic attitude right for his role, while shading it with a winning curiosity and eventual mellowing of his character’s occasional dour and solemn nature. In fact, he’s one of the main heroes of the piece as he’s entrusted with two young children to protect against creatures he knows a lot about. Laura Dern backs him up with intelligence and when it’s called for action; her run to the shed and ordeal inside leave you on the edge of your seat as you watch an ordinary woman fighting against a terrifying situation. And of course the man of the hour and resident scene stealer is here by the name of Jeff Goldblum. Portraying the know it all mathematician who drops sarcastic yet ethical questions, Goldblum is a hoot. And considering for a big chunk of the film he’s incapacitated, he’s still dispensing entertaining one liners among the terror and excitement. It’s the definition of a star supporting turn. In a fine showcase, Richard Attenborough subtly shows the dreams of an eccentric man of money and his realisation that it isn’t the most ideal or safe thing to do. Although his actions are questionable, he just boasts a certain geniality that is hard to fault. Ariana Richards and Joseph Mazzello are thankfully talented child actors who you feel for on this journey. Fine work also comes from Samuel L. Jackson, Bob Peck and Wayne Knight in this adventure, particularly from Jackson as the gruff chief engineer who is never seen without a cigarette.

A simply phenomenal adventure with stellar effects, fine cast, wonderful music and the masterful Spielberg at the helm, Jurassic Park is a film you can never grow tired of.

A 70’s horror with an all-star cast, I was expecting The Sentinel to be a treat. Alas, it was a shoddy mess that descended into ludicrous and incomprehensible places. There are nary any positives in this film, which could have been something special, fur floundered into the abyss of rubbish.

Alison is a young, pretty model living in New York. Though in a relationship with slick lawyer Michael Lerman, she is reluctant to move in with him or consider engagement. She decides to find her own place to live. While seemingly living the high life, Alison has baggage in her memories that still haunt her and refuse to let go. Continuing looking for a place, she is recommended by realtor Miss Logan, a beautiful Brooklyn Heights apartment. She notices a man in the top apartment window. Miss Logan informs her that it is Father Halliran, a blind priest who seems to sit there without ever really moving. Thrilled at the scope of the place and the reasonable amount being asked for, Alison moves in. Shortly after arrival, Alison encounters some of the strange tenants of the building, starting with the peculiar and intrusive Charles Chazen. Gradually, Alison’s nights are disturbed by horrific visions of her troubled past that involved an attempted suicide and is plagued by unnerving noises from another apartment. Frightened yet very curious, Alison is then shocked to learn that only she and Father Halliran reside in the complex, with no one having previously occupied it for three years. Becoming more alarmed by events that may or may not be real, Alison crumbles completely. Somehow, she is linked to a centuries old pattern that the apartment block has which poses a deadly and potentially otherworldly trouble. Can Alison really figure out why these visions appear and what sinister designs are being made for her?

Michael Winner gets some atmosphere going at the start, but his lack of taste and frankly trying direction makes The Sentinel really drag and go into a place of boredom. He plays up the overt sensationalism and outrageous moments to an extent that they aren’t frightening or remotely chilling. The visual style is one positive point( even though it’s sadly only one such instance) finding a certain gloss and at least setting some spooky aura. This however is drowned out by the sheer implausibility and inanity of it all, that causes The Sentinel to be a major let down. The Sentinel film that could have been something if thought had actually gone into. What we are left with is a confused and histrionic film, that doesn’t generate hardly any terror or resonance. There is one scene that is rightly celebrated for its scare factor, but apart from that, The Sentinel is laughable and deplorable. I mean, I’m game for some campy and melodramatic moments in horror, often they can be quite fun. But the overload, coupled with a dragging, not to mention hard to follow story, was too much for me to take. And there is one thing in The Sentinel that really left a bad taste in my mouth. When all hell breaks loose and the supposed fright of the movie is in swing, one manifestation of evil is depicted as people with prominent deformities. The main thing I took issue with was that the people used were actually deformed themselves. When you put a physical defect or disability on screen, it should be done with respect. Here, it equates the deformities with evil, which really didn’t lie well with me. It felt exploitative and mean-spirited, especially as the implication it made was in very poor taste. The music score is passable with some unusual passages, yet like the rest of The Sentinel, over cooks events to a laughable degree.

As aforementioned, The Sentinel has an unbelievable cast. The sad news is, hardly any of them are given anything to work with and show off their skills. Cristina Raines, in the lead of tormented model, is basically required to look frightened and pretty. She does both things well enough, but there’s nothing really meaty for her else to do. Chris Sarandon at least tries his best with putting some cocky attitude into the role of the lawyer boyfriend. John Carradine, heavily made up to look older, is pretty effective as the largely silent priest whose eerie presence hangs over the building. Burgess Meredith rocks creepy to the hilt as a pesky and very unusual neighbour, who becomes more than just a common nuisance. Ava Gardner is completely wasted as the realtor of the place, only appearing a handful of times and not equipped with much in the way of action to play. Deborah Raffin is pretty bland as Alison’s best friend, while experienced veteran actor Arthur Kennedy at least contributes some mystery as an enigmatic priest. Eli Wallach and a young Christopher Walken are seen in a thread of the story that makes no sense and wastes the obvious talents of two reliable stars. Martin Balsam and José Ferrer, two fine actors, both appear in blink and you’ll miss it roles which is extremely unfortunate. Sylvia Miles and Beverly D’Angelo certainly have the strangeness down in their parts, but not much else because the script restricts them. Bit parts are also handed to Jeff Goldblum and Jerry Orbach. The mix of old and new stars was supposed to be amazing, but they are never given any time to shine or strut their stuff.

A big mess of a movie that showed potential but quickly became farce, The Sentinel is one to avoid in the horror genre.

A seriocomic drama about reflection on the past, the difference in generations and loss, The Big Chill is a highly resonant and extremely well written film from Lawrence Kasdan. He is aided by a fine cast that do wonderful work in this look at how times change and we can feel adrift in the world that doesn’t hold the promise it did when you were younger.

A group of former friends from college in the 60’s are reunited unexpectedly years later when one of them, the much talked about and promising Alex, commits suicide. The group is made up of married couple Harold and Sarah Cooper, disillusioned television star Sam Weber, unfulfilled attorney Meg, slightly lecherous journalist Michael, Vietnam Vet and pill-popping Nick and unhappy housewife Karen. They haven’t seen each other since their heady days in college and the funeral of Alex brings them back together under dark circumstances. The wake is held at Harold and Sarah’s vacation house in South Carolina. The main people of the group, who don’t know how to deal with the suicide of Alex, stay over the weekend along with Chloe, the much younger girlfriend of the deceased. During the course of the days, the one time close-knit faction are found to be laying bare their secrets, reminiscing on the past and attempting to fathom why Alex killed himself. The big thing that hovers over them all is that lingering sensation that the best years of their lives have passed them by and their vibrant dreams of youth have gone up in smoke. Various little dramas come to light again, like Meg wanting to desperately have a child as she feels her biological clock is ticking and Karen dealing with her unresolved feelings for Sam. Throughout the time together, thrashing out their differences and opening old wounds, they are left to ponder and work out just what to do with their lives, along with whether they can rectify what eludes them and unearth how much Alex’s death has impacted on them.

Lawrence Kasdan fashions a heartfelt yet perceptive evocation of people dealing with responsibilities and thinking back on how much they changed since college. The script that he wrote, along with Barbara Benedek, invests The Big Chill with a quick wit and revealing nature, that benefits the struggles and issues the group go through. They all feel at sea in the materialistic 80’s, when all they crave is the feeling of life and hope that the 60’s gave them being baby boomers. The plot largely revolves around the group discussing their problems, reminiscing of the good old days, smoking pot and wondering where the time has gone. Some may find that idea more than a little boring, but The Big Chill is the total opposite because of the amount of personal feeling injects do into it. You really get to relate to the characters and what they’re going through, even if they don’t know how best to deal with grief and a sense of something missing. It’s one of those things that is universal for everyone; the knowledge that life is different from how you expected and hasn’t taken the path you wanted. Thankfully as tinged with melancholy as The Big Chill is, there is a balance it strikes with quick humour long the way. The film, like the characters goes between laughs and tears, with an unexpected clarity and wisdom that shines through. Even if some of it feels a tad simplistic, the warmth and depth of the piece are always in evidence. The soundtrack is one of the best parts of the movie, recalling the youth of the characters with Motown hits and 60’s grooves. Music plays a very integral role for all of the group and also the audience, as music holds a special place undoubtedly for all of us with the wistful memories it can evoke. The opening sequence is a masterful example of combining music with telling a story. In it, each of the group receives the news and we catch glimpses of how they react, as the sound of Marvin Gaye’s ‘I Heard it Through the Grapevine’ plays in the background.

The Big Chill boasts a simply star-studded cast that are given a moving and frequently funny script to work with and deliver natural, unaffected performances in the process. This is a beautiful ensemble of acting that allows everyone a chance to shine. Kevin Kline is very good as the amiable joker Harold, who has his own deliberations to deal with along the way. Glenn Close beautifully supplies a nuanced turn as the earth mother and good listener, who attempts to keep everyone and herself together and not fall apart. The typically sardonic personality of Jeff Goldblum covers the seedy journalist character, while Tom Berenger sells the feeling of alienation that fame has brought him over the years. William Hurt is on lugubrious form as an overly cynical and morbid man whose life is like an empty shell and needs some lightness to brighten it. Mary Kay Place has the right amount of humour and pathos to bring Meg’s need for a child to life, complimented by some wily observations. Rounding out the main group of reunited friends is JoBeth Williams. She quietly but noticeably gets across the aching want for some love that her character finds has missed her, and there is a real tenderness to her pining for Sam. Meg Tilly, as the youngest member of the cast and most youthful character, has a boundless and quirky energy of a girl who doesn’t react to death the way you’d think. Her character is mainly a symbol of the exuberance and wistfulness of being young and idealistic, that the group is wrestling with the knowledge that they aren’t anymore. The whole cast works convincingly together, selling the fact that their friendship despite the years remains quite intact and there to be rediscovered over the weekend of rumination.

A nostalgic as well as very honest depiction of bittersweet grappling with all sorts of change and facing up to the different ways that life affects us, The Big Chill still has a large impact of being moving and amusing. This is largely thanks to the splendid direction, script and cast that make the experience really something.

DreamWorks take on the biblical story of Moses is a stunningly animated and powerfully constructed film. From the stirring music to the talented voice cast, The Prince of Egypt is a powerful achievement in animation as Moses discovers his destiny to lead the Israelites out of Egypt.

In Ancient Egypt, a female slave, in order to save her baby son from a cull of Hebrew children, sends him down the river in a basket in the hopes that he will be able to live free. The baby is discovered by the Queen, who adopts him and gives him the name Moses. Years later, Moses is grown up and has a friendly rivalry with his older brother Rameses, who will one day become Pharaoh. Moses is unaware of his mother’s sacrifice all those years ago or the fact that he is a Hebrew by birth. That is until he meets Miriam, his biological sister and a slave who informs him of the truth. Confused and shocked by this, he begins to see that everything he’s ever known has been a lie. Now aware of his past, he can’t just stand and watch as the Hebrews are enslaved by the Egyptians. Fleeing into the desert after accidentally killing a slave driver beating an elderly slave, Moses is visited by God in the form of a burning bush. Moses now begins to understand his destiny but his views are at odds with the newly crowned Rameses. Their differing beliefs will forever change the close relationship of the two. Evocative, well executed and filled with images of great wonder and beauty, The Prince of Egypt is a staggeringly staged marvel of animation that will engage you regardless of whether you’re religious or not.

The first thing to praise is the grand and beautiful animation that captures the interest from the first frame. Scenes live long in the memory from the slaves praying through their arduous work to Moses being sent down the river, visual splendour abounds. Special attention must go to the sequences of the Plagues of Egypt; as frogs emerge from the river, livestock perishes and the last plague of the death of the first-born occur. These scenes are carefully constructed and detailed to the highest degree as well as dealing with some deep themes such as faith and religion. The music of the film is stirring and very memorable. The two songs that stand out the most are ‘Deliver Us’, sung by the slaves as they ask God for mercy and the Oscar-winning ‘When You Believe’, a stunning song about the eventual reward of patience and the joy that comes from undying faith.

The voice cast assembled are an exceptionally talented bunch that invest their characters with both heart and emotion. Val Kilmer strongly voices Moses and shows us the gradual bravery after initial uncertainty that Moses gets as he realises his destiny. The commanding voice of Ralph Fiennes portrays Rameses who struggles with his brother’s calling and won’t back down as he sees it as a sign of weakness. Michelle Pfeiffer combines feisty determination with loving warmth as Tzipporah, the eventual wife of Moses who he helped escape from Egypt after being kidnapped. Sandra Bullock is earnest and passionate as Miriam, the sister of Moses who is the first person to show him the truth about his destiny. Fleshing out the other skilled voices are Jeff Goldblum, Danny Glover, Patrick Stewart and Helen Mirren, who all contribute emotional depth to this tale. Steve Martin and Martin Short voice the court magicians who add the comic relief.

Stunningly animated and sonically beautiful, The Prince of Egypt is a marvellous film. Some may say it is religious propaganda, but one can’t deny the amount of talented work at play here in bringing this story to the screen.